謝春德 HSIEH Chun-Te
謝春德 HSIEH Chun-Te
Statement /
看見聲音
天光初啟 徒步在林道間 突地！冒失的車子打從面前呼嘯而過！
Seeing the Voice
文／謝春德
清晨 在十八層樓陽台早餐的茶氣中
Hsieh Chun-Te
Written by
望著路口紅燈後車子徐徐而行！
中午 約朋友在 101 大樓頂層的餐廳吃飯 見腳底道路中，汽車似鴨子在水面上悠緩划行！
再從更高處往下看
Seeing the Voice
I walk on the mountain trail. Suddenly, a car recklessly passes by in front of me! Early in the morning, I smell the breakfast tea on the eighteenth-floor balcony, Seeing cars slowly proceeding after they stop at the traffic lights! At noon, my friends and I have lunch at the restaurant on the top-floor of Taipei 101. I see cars slowly moving on the roads under my feet as if they were ducks leisurely paddling on the water! Then I look down from a higher place…
從太陽系邊緣 從銀河系邊緣．．．．． 這時 我看到了 『我、我的列祖列宗及子孫們』 都在同一時空裡
From the edge of the Solar System, from the edge of the Galactic System… At this moment, I see “myself, my ancestors, and my descendants” existing
那 是我們的原點
in the same space-time.
當我們從初始分開後；未知、黑暗、恐懼、孤獨，成了與生俱來的 生物宿命！
That is our origin. Since we separated from the initial start, the unknown, darkness, fear, and
為了竭力向前的肉身 我們給自己一個可以安歇的家
loneliness have all become our biological destiny!
可是 那靈 在何方？ We build up a home to shelter the physical bodies in which unceasingly
午夜夢迴 我 聽見了那來自宇宙深處的呼喚！
仰望長空 我 看見了那聲音！
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proceed forward. However, where is the spirit? In the middle of the night, I hear the calling from the depth of the Universe. I look up at the sky, and I see the voice!
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Essay / The Theatrical Aesthetics of Hsieh Chun-Te’s Photographic Art
謝春德的 攝影劇場美學 樊婉貞
評謝春德作品中的場景、觀景和景象
這個世界是黏滯的，想要抓住它，卻總是從我們的手中溜走；想要
第一次個展—沼澤 1968 無酸噴墨輸出
藝術地圖總編輯
一切從真實的場景開始
支配它，結果卻發現它總是支配著我們。這種限制與矛盾，時時讓
早年作品《第一次個展》帶有很強的實驗性，把攝影作為表演和觀
會」是那一代青年的使命，究竟羅伯特法蘭克 (Robert Frank) 的《美
念的載體，充滿著幻想和詩性，現實與反叛精神並置，其內在原因
國人》(The Americans) 與謝春德的《家園》和那一代的台灣現代攝
我們的生活產生厭倦、並想擺脫它。因此絕對自由與絕對意識，成
可以想像謝春德的童年對他往後的成長是多麼的重要。台中台灣國
或許是從鄉間走進城市的嚮往和困惑，如他說：「你要了解像我那
影家們，有著如斯相同的出發點？還是，六十年代影響著全世界年
為藝術創作者追求生命實踐裡最刻苦的想像。複雜的現實記憶與想
立美術館的現址，即是謝春德小時候家的位置，有農家的田野、小
個年代是現代主義盛行，其實像我離開家鄉了，對我自己的家鄉充
青人的革命思潮，也正影響著處在政治改革的台灣那一年代的年輕
像世界的建構，如同存在主義裡描述既膠黏又令人作嘔的真實，潛
河、青草、象徵經濟起飛的機車、忠實的家狗與三代同堂陪伴長大
滿鄙視的態度，就覺得要趕快現代化，是那種心情，早年來台北是
人。謝春德的《家園》並沒有企圖像法蘭克一樣，將拍攝窮人和受
藏在藝術家謝春德的心理底層，深知唯有如宗教般頓悟，將自己淘
的童年。還有當時台中巿美村路擁有美軍駐台灣最大的宿舍，常常
這樣，可是像我退伍了以後，開始會覺得有些東西對我是一種鄉愁，
難者這種傳統紀實攝影當作主題，反而發掘台灣各處地方不同的原
空，才有真正放空的覺知。
可以拾取美軍遺留的書籍、畫報與用品，是曾經開�他對外界認知
是一些童年裡面比較好的經驗，你會覺得很感慨，也很有感情，很
貌，雖然拍攝真實的場景，但內心的抒情卻選擇了一種晦暗的表達，
最重要的入口。直到十七歲離家到台北，「家」的感覺開始在介乎
自然每個人從這些圖像來觀照，就會回到這個路線來。」《第一次
如同蘇珊桑塔格 (Susan Sontag ) 講述法蘭克的《美國人》 –「都是刻
謝春德的複雜在於他對「高度」要求的尋覓，每到一處高點，就會
「家」和「那裡是家」之間有了很大的落差。這種落差在作品中一
個展》裡的「窗」和「床」透過窗外的亮光，一個青年人對外界強
意地漫不經心」1，有某種的相似。
看見另一處高峰；再往前行，再有發現；在眾裡尋他之際、驀然回
再呈現，他一方面不自覺地迷戀過去家的鄉土景色，一方面又要不
烈好奇的慾望和性禁忌的打破，「西門町」借助城市的場景呼吸著
首的一刻，人生已是一場無窮尋覓的往返。謝春德的複雜，顯露於
斷適應新環境帶來的衝擊。面對現實生活的約束，「落差」作為創
夜間的自由，「伸向天空」、「沼澤」、「夜未盡」介乎現實與超
我相信《無境漂流》是《家園》的延續，不同在於場景的變更，而
他不同系列的作品上：十九年的《時代的臉》(1968-1986)、十五年
作的場景，既有現實的參照，也有超現實的想像；真實的現場交代
現實的想像，在城市的場景中對土地的鄉愁及離開家鄉後不知所措
對生活的不適應，更歸根於他對中年的心境：「到了中年以後還在
的《 家 園 》(1973-1987)、 二 十 八 年 的《 無 境 漂 流 》(1975-2002)、
出時代訊息和歷史背景，超現實反映對現實的嘲諷，這種錯綜複雜
的境況。
重複，還在繼續挨苦；那表示我並沒有從中培養出好的習慣。... 無
二 十 四 年 的《 生 》(1987-2010)、 尚 未 真 正 完 成 的《 天 火 》(2002-
的魔幻影像，使他的作品無法被歸類為寫實攝影或超現實主義中。
2012)，人和作品帶著漫長歲月的精神往返，造就出奇特複雜的景
不安、不滿的情緒，來自於他是一個異鄉者，在新環境中不斷嚐試
從六十年代全盛的「沙龍攝影」走向七十年代具現代性的「報導攝
想法既有逃避，也是一種解脫，他決定走向更廣大的他方去經驗、
象，慾望、不安、探索、旁觀、自醒與覺悟，像是用盡一生嚐試去
證明自己的存在，就好像他喜歡的卡夫卡和卡繆，內心面對過去的
影」，謝春德對「鄉土」攝影帶有更深刻的體會。1973 年的《家園》
理解生命。生活的矛盾反而造就了對生命的覺悟。
了解人的一生所做過的事情。
我和今日的我，充滿無法言喻的矛盾。
直接走進鄉土的場景，正如吳嘉寶講那時「拍攝本土等同於關懷社
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法對生活提供方便的行為，大概就是所謂的壞習慣吧 !」我想這種
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Essay / The Theatrical Aesthetics of Hsieh Chun-Te’s Photographic Art
生—觀音山下的渡船人
天火—天啟
1987-2010 無酸噴墨輸出 150×200cm
2002-2012 無酸噴墨輸出 100×300cm
實性，從一位旁觀者的感觸變為一位思想家的創造，從前《家園》
應自然而發，如晉人嚮往自然的自由，宗白華曾寫到：「晉人向外
和《無境漂流》是單向的描述，而《生》創造相對的處境，思考如
發現了自然，向內發現了自己的深情。」 2 之所以借助自然之景表
《生》系列作品突破以場景先行的創作方式，而是以觀念攝影的描
生與死、美麗與醜陋、文明與虛偽、慾望與壓抑… …。《生》是沒
達內心之情，謂之意景，而意是會意，不能明言，不然便為俗品；
繪方式構造「真實」，藝術家主動介入事件，甚至對真實作出主觀
有答案的，但讓人看後心有餘悸，那種夢魘的影像留下揮之不去的
景為真實的場景，為了表達象之氣魄。
的假設，把腦子裡最奇異的影像呈現出來。《生》的影像構造，觀
憶念，久久不能遺忘，也最令人著迷。
從觀念走向劇場般的景象
念從素描簿中不斷演變，新舊時空、歷史場景、個人記憶不斷交織， 以最嚴苛的創造史詩式的風格、利用影像搬演劇場的時代美學。
《天火》是從意識到覺知，覺知是把人從自我中心放下的過程。自
放下景象的覺知
《生》是謝春德從「場景」進入到「觀景」的個人藝術符號，結合
然是景象，被放在更高更大的位置，大於人的意識，於是在《天火》 裡沒有多餘器物、衣服、事件，只有人的存在。如果愛是意識，那
強烈「台灣」的歷史情結。他批判國民黨撒台後長時期政治壓抑的
因為有嚴重的高山症，確定無法爬高山的謝春德，不相信宿命，請
麼性就是本能，把人的愛念放下，就是放下意識，剩下的性是為一
不平等、透過性細述台灣的畸形文化，景觀投射台灣脆弱社會裡不
了曾登上聖母峰的台灣登山怪傑李小石教練為自己的登高做了一年
種無愛的覺知或行為，或許這裡的性是參悟從生到死的過程，是意
堪一擊的陰暗一面。
的訓練，最終被允許可以試行。在登上三千七佰多公尺的南湖大山
識中最原始的條碼。
時，為慶祝自己克服天命而舉杯，卻因此休克，好在被李小石及朋 謝春德敢於展現那種荒謬的影像，將慾望掩蓋過文明的禁忌，因為
友們拾回了性命。而自己的登山教練，卻在 2003 年帶謝春德於南
不其言想到《蘭亭序》裡寫到：「況修短隨化，修期於盡。古人云：
《生》可被理解為生命的、自然的、活生生的、赤裸裸的… …它的
湖大山拍攝「天火」這一系列的第一張照片後，在 2013 年正值壯
『死生亦大矣。』豈不痛哉 !」大意是生死的長短全憑造化，人終
本意可以是中性的，但其目的是引領對事物本質的思考。雖然背後
年登上八仟多公尺世界第四高山洛子峰，登頂成功返回基地營時暈
須一死，了解生死是一件大事，難道不令人悲痛嗎？我想謝春德的
的場景展示對文明和歷史的批判，還有男女關係的糾纏，這些都是
倒不幸驟逝。三千多公尺高的南湖大山，只是被大山雲霄感動下對
作品以最獨特的方式展現生命，這是他的全部，窮一生之力了解生
謝春德一直以來的價值判斷，不同在於現在的觀念性多於過往的現
生命無常的一個反射。《天火》來自太古，並不是場景的製造，因
命的本意。
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註 1： 蘇 珊 ˙ 桑 榙 格 (Susan Sontag)《 論 攝 影 》， 黃 燦然譯，麥田出版社 2010 年初版，第 106 頁。 註 2： 宗白華《論〈世說新語〉和晉人的美》，《美學 散步》，上海人民出版社 1981 年版，第 215 頁。
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Essay / The Theatrical Aesthetics of Hsieh Chun-Te’s Photographic Art
The Theatrical Aesthetics of Hsieh Chun-Te’s Photographic Art
life becomes the journey to-and-fro between the repetitive pursuits. His
context, while the surrealistic scene reflects the mocker y of the reality.
complexity is revealed in his different series of works, including the 19-year
The complicated twine of the magical images make his works unable to be
project Faces of Our Time (1968-1986), the 15-year project Homeland (1973-
categorized as realistic photography or surrealism. The emotions of anxiety
1987), the 28-year project None-Zone Moving (1975-2002), the 24-year
and dissatisfaction result from his identity as an alien who attempts to prove
project RAW (1987-2010), and the series works TENKY (2002-2012) which
one's existence in a new environment. The two great writers, Franz Kafka
he has not finished yet. Both the artist and the artworks have been through
and Albert Camus whom he admires very much, might have suffered the same
A Reading of Scene, View, and Sight
a long period of time and experienced the spiritual journey to-and-fro to
destiny – the inexplicable contradiction when one encounters the self in the
create wonderful and yet complicated sceneries – desire, anxiety, exploration,
past and the self in the present.
Written by
observation, self-examination, and realization. It is like a life-time exploration
Anthea Fan
about what one has done throughout one's life.
His early work First Solo Exhibition is ver y experimental. In the work,
Everything Begins with a Realistic Scene
vi sua l i z e d wi th a m ixture o f f anta s y an d p o e tic to uc h a s wel l a s the
photography functions as the carrier of the performance and the concept,
Chief Editor of Art Map
juxtaposition between the reality and the rebellious spirit. The inner essence First Solo Exhibition - Swamp
We can easily imagine how Hsieh Chun-Te's childhood plays a crucial role
might come from the longing and the anxiety when he leaves the countryside to
in his grown-up life. The place where he has lived as a child is the current
live in the big city. He has once mentioned “it was a time when Modernism
location of National Taiwan Museum of Fine Arts in Taichung. There used
became a trend. In my case, I left my hometown, starting to feel ashamed of
The world is sticky. Every time when we try to catch it, it just easily slips away.
to be a rural village with fields, river, grass, motorcycles (which symbolized
it. I felt the urgent desire to be modernized. It was what I felt when I came to
Local Photography.” The work Homeland in 1973 directly brings us into
Every time when we attempt to dominate it, we soon figure out that we are
the rapid economic growth in Taiwan), domestic dogs who were loyal to
Taipei. However, when I was discharged from the compulsory military service,
the native local scene, as how Wu Jia-Bao describes that “photographing
those being dominated. Such a contradiction and limitation make us feel so
their masters, and a backtracking to his childhood in three-generation family.
I started to feel the nostalgia for some better childhood memories… I became
the native local scenes is equal to being concerned about the society” and
bored about our daily life that we almost want to get rid of it. Therefore, the
There was also the largest American military housing garrisoning in Taiwan,
more sentimental and emotional. It was very natural that people would see
both of them are the missions for that generation of young people. Is it true
absolute freedom and the absolute consciousness become the most painstaking
MAAG Officer Compound, in the area around the current Meitsun Road
the path I had been through when viewing these images.” The “window”
that Robert Frank's The Americans and Hsieh Chin-Te's Homeland, as well as
imagination when an artist pursues the practice of life. The complicated
in Taichung , where Hsieh could often pick up books, illustrated magazines,
and the “bed” in First Solo Exhibition are shined by the bright light outside
Hsieh's fellow modern photographers, share the same beginning point? Or,
memories of the reality and the constructed world of imagination are both
and tools left behind by American soldiers. It thus offered him a door to the
the window, suggesting a young man's curiosity about the outside world as well
did the revolutionary trend in which influenced the young people of the 1960s
hidden deep inside the artist Hsieh Chun-Te's heart, reminding us of the sticky
outside world. When the 17-year-old boy left home and went to Taipei, he
as the strong sexual desire. The urban scene of “Ximending” visualizes the
all over the world also influence the young Taiwanese who was experiencing
and yet nauseating reality as described by Existentialism. One is thus aware
started to experience a huge gap between the feeling of “home” and the
freedom of night time, while the symbols of “reaching toward the sky,” the
the political revolution? Hsieh Chin-Te's Homeland does not attempt to adopt
that only through the process of emptying oneself, like a religious realization,
feeling of “where the home is.” Such a gap became a reoccurring theme in
“swamp,” and the “middle of the night” provides an imagination between
the traditional themes of Reportage Photography to photograph the poor and
his works. On the one hand, he could not help but being deeply addicted to
the reality and the surrealistic world, capturing the urban nostalgia for the
the victims like Robert Frank does. Instead, he explores the original sceneries
the rural scene of his childhood hometown. On the other hand, he needed to
homeland and the spiritual loss for someone who is far away from home.
all over Taiwan. However, the realistic scenes in his works reveal certain subtle
can we have a totally pure consciousness. The complexity of Hsieh Chun-Te results from his insistent pursuit of
get accustomed to the conflict caused by the unfamiliar environment. Being
“height.” Once he reaches the top, he will see another top higher than
limited by the reality, Hsieh thus takes the “gap” as the main scene in his
and lyrical expression deep inside. It is indeed similar to how Susan Sontag From the “Salon Photography” which was popular in the 1960s to the
this one. He moves on, and discovers something “higher.” Finally, he
artistic practice, mixing the realistic reference and the surrealistic imagination.
“Reportage Photography” which represented modernity in the 1970s,
turns around and finds what he has been searching for all these years. His
The realistic scene provides us with information about the exact historical
Hsieh Chun-Te is searching a more profound understanding of “Native
10
1968 Archival inkjet print
describes Robert Frank's The Americans as “an intentional recklessness.” 1 I believe that None-Zone Moving is the extension of Homeland. Though the
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Essay / The Theatrical Aesthetics of Hsieh Chun-Te’s Photographic Art
think of. When studying the composition of RAW, we might discover how the concept has been varied in the sketchbook, intertwined with different space-time, historical scenes, and personal memories. With an extremely harsh epic-like style, the artist makes the best use of images to demonstrate the theatrical aesthetics of the times. RAW is a personal artistic symbol signifying Hsieh Chun-Te's transformation from “scene” to “view,” with a combination of the strong historical complex of “Taiwan.” He criticizes the political oppression over a
TENKY: Apocalypse
long period of time after KMT’s retreat to Taiwan. Sex in his works becomes a
Archival inkjet print
2002-2012
100x300cm
symbol to express the malfunctioning culture in a detailed way, while the “view” reflects the dark side of this fragile society. Hsieh Chun-Te shows a great daring to reveal the absurd images, burying the taboos of a civilized society with naked desires. The work RAW is full of life, RAW: Ferry Voyagers at the Guan Yin Shan
1987-2010 Archival inkjet print 150x200cm
two depicted scenes are different, the inadaptability to life is deeply rooted in
for one-year training. Eventually, he was permitted to take a challenge of
TENKY is a journey from consciousness to awareness, a process to put down
and it can be read as the natural, the living, the naked… The original meaning
3700-meter climb and successfully reached Nanhu Mountain. When he was
one's self-centered ego. The scenes of Nature should be placed in a higher
can be neutral, but what the artist attempts to offer is the thinking about the
drinking to celebrate that he had overcome the health problem, he suddenly
and greater position over the human consciousness. Therefore, there is no
essence of the external world. The background of the scene as well as the
fell into a coma. It was lucky that Lee Hsiao-shih and friends saved his life.
redundant objects, clothes, or events, but the human existence. If we regard
entangled relationship between man and woman provides a critical perspective
Many years later, unfortunately, a tragedy happened to Hsieh's climbing coach
love as the consciousness, then sex can be regarded as the instinct. When we
on civilization and history – it has always been Hsieh Chun-Te's values. The
who in the year of 2003 had helped him to photograph the first piece of the
put down the consciousness/love, sex becomes the awareness/behavior without
his middle-aged mind: “now in my middle age, I am still repeating myself,
difference is that he focuses more on the conceptuality instead of reality in his
series works TENKY. In 2013, the middle-aged mountaineer Lee Hsiao-
love. Perhaps the “sex” depicted in his works symbolize the process from
continuously suffering. It means that I have not formed some good habits…
present works. As an artist, he has transformed the sentimental emotions of
shih successfully climbed to the top of Lhotse, the fourth highest mountain
life to death – the most original sign of one's consciousness.
I guess those behaviors which cannot bring any convenience to life are the
an observer into the creation of a thinker.
His previous works Homeland and
in the world about higher than 8000 meters, but he fainted when he returned
so-called bad habits!” I think it is his way to reject and to escape. He
Non-Zone Moving are more about a one-way description, while the comparative
to the camp and passed away. The 3000-meter Nanhu Mountain is merely
It reminds me of Lanting Xu (Preface to the Poems Collected from the Orchid
has decided to walk toward a wider space, to experience and to understand
situation depicted in RAW invites us to think about the relationship between life
a reflectio n of the great Nature and the impermanence of life. TENKY
Pavilion), where Wang Xi-Zhi writes that “ Individually, whether we live a
the meaning of life. The contradictions in life unexpectedly result in the
and death, desire and suppression, the beautiful and the ugly, the civilized and the
originates from the ancient time even before the beginning of the world. It
long life or not, we all return to nothingness. The ancients regarded death as
realization of life.
pretentious, and etc. RAW does not provide an answer, but it makes your heart
is not a constructed scene but a natural occurrence, like how people of the
the great question. Is it not sad to think of it?” I believe that Hsieh Chun-
tremble. The nightmare-like images linger forever, haunting but yet fascinating.
From Concepts to the Theatre-like Sights Putting Down the Awareness of Sight The series work RAW adopts the practice of conceptual photography to construct
Jin Dynasty longed for the freedom of nature. According to Zong Bai-hua,
Te's works express his idea about life in the most unique way. He has devoted
“people of the Jin Dynasty searched the outside world and found Nature
everything to understanding the true meaning of life.
while they searched the inside world and found their affection.” We borrow the scenes of nature to express our inner feeling , and it is how we transform
1
See Susan Sontag’s On Photography, translated by Huang Tsang-Jan, first published by
Rye Field Publishing Co. in 2010, page 106.
the “reality” instead of the conventional way to photograph the pre-existing
Because of his altitude sickness, Hsieh Chun-Te is not allowed to climb.
the scenes into the symbolic images. It can be felt but cannot be explained in
scenes. In the work, the artist actively intervenes in the events and even offers a
However, Hsieh Chun-Te did not want to be limited by his destiny, so he hired
words, or it might lose the spirituality. The artist indeed captures the realistic
Account of Tales of the World)” from his book Take an Aesthetic Walk (mei xue san bu),
subjective assumption about the reality, visualizing the weirdest fantasy one can
the mountaineer Lee Hsiao-shih, who had successfully climbed Mount Everest,
scene to demonstrate the greatness of the spirit.
published by Shanghai People's Publishing House in 1981, page 215.
12
2
See Zong Bai-hua’s “The Aesthetics of the Jin Dynasty and Shih-shuo hsin-yü (A New
13
Essay /
Hsieh Chun-Te, "Tenky Series"
謝春德的〈天火〉系列 文／
Dominique Païni 多明尼克．巴依尼
譯／ 林志明
教授
法國電影史學者
教授
評論家
Hsieh Chun-Te, "Tenky Series"
Written by
Translator
Film Critic, French
Critics
Dominique Païni
Patrick-Guy Desjardins
qualities of gray, the intermittence of the blurred and the clear-cut were laying down a perspective that's as moral as it is spatial. The TENKY series makes use of another figurative bias. Hsieh chooses from reality materials that will compete in the picture: the puffiness of the clouds and the oily flatness of the water, the reflection from a lake's surface and the
天火—白馬 TENKY: White Horse
opacity of the rocks, the landscape devoid of any presence and the solitude of
2002-2012 無酸噴墨輸出 Archival inkjet print 36×48cm
an animal, the calcined tree bark and the luminous epidermis of the exposed
謝春德前一個系列名為 RAW〈生〉，可說是一種攝影－繪畫。作
而〈天火〉這個系列發揮的則是另一種立場選擇。謝春德在現實中
In a previous series of photographic paintings entitled RAW, Hsieh Chun-
bodies... This goes to show the wrong track towards which Hsieh directs the
品當中，藝術家佈置了受到綑綁、撕裂、釘架的身體，目的是維持
選擇各種元素，並使它們在形象中相互衝突對抗：隆起鼓脹的雲朵、
Te staged bodies hindered, torn, crucified in the prospect of maintaining and
interpretation of his images. The strength of its figuration, that sometimes
像是油漬般平滑的水面、湖面的反射以及山石黝暗、沒有任何人煙
recording a memory. In these large black and white images, this memory of
confines to indecency and suggests a fascination with the "playful cruelty" of
根基性殘酷有關，也和某些宗教儀式的中所出現的情慾暴力有關，
的風景以及動物的孤獨，焙燒鈣化的樹皮以及裸露身體光滑的皮
the fundamental cruelty of insular identity (Taiwan) and of the erotic violence
a Georges Bataille (1897-1962), is actually masking a formalist project whose
使得這些大型的黑白影像等同於某種「歷史繪畫」。
膚…，然而這些都是謝春德引導詮釋的假線索。他的形像強烈，有
released by certain religious rituals made for an undertaking equivalent to a
opposition of materials and tensions between close patterns, according to the
kind of painting of history.
principles of oneiric collage, denotes a secret desire for abstraction. The latter
及紀錄一個記憶。這個記憶和一個島嶼建立其身份認同過程當中的
時接近猥褻，暗示著喬治·巴代伊（Georges Bataille 1897-1962）對於 〈天火〉這個系列及以它為名的展覽，脫離了書寫歷史的雄心。它
「歡悅殘酷」的著迷，而背後是一個形式主義的計畫，其中各種物
保留了向西方神話借用混種指涉（比如 Salomé 與 Holopherne…)，
質間的對立、及依據夢境拼貼而製成的視覺張力，顯示一種秘密的
也涉及了某種東方的世界觀，然而，更多的是留給地球環境悲劇的
抽象慾望。這個慾望被影像的富饒和瘋狂所「攻擊」及否認，但於
命運，以及威脅毀滅它的災難，尤其是以人類作為源起的毀滅。謝
垂直及水平的視覺上，卻又極為協調及連貫。
春德在神話和哲學的層次來自於他對末世縈迴的關懷，並且假設末 世的必然來臨乃是受到一個不可辯駁的文化潛意識所設定。
使用色彩並不會減少這位藝術家的執念，對他來說，哥雅（Francisco
is "fought" and denied to the extent of the lush and delirious composition The TENKY series gives a generic title to a new exhibition that turns away
of the images, but betrayed by the concerted alternating of the accentuated
from the ambition of History. While keeping borrowing hybrid references from
verticality and horizontality of their formats.
Western mythologies (Salomé and Holofernes...) and an Oriental conception of the world, greater emphasis is now given to the planet's tragic environmental
The recourse t o color does not detract from the obsessions of an artist for
destiny and to the cataclysms that threaten it -including , especially, those
whom The Disasters of War by Francisco Goya (1746-1828) became, to him,
having man as its origin. From this mythological and philosophical register,
the disasters of progress and indifference towards the natural fate of the
Goya 1746-1828）的《戰爭災難》已完整描述了進步及對自然環境
Hsieh draws the figuration of his apocalyptic haunting, making the hypothesis
world. Also, color does suit incendiary terror even better. If contemplation of
RAW〈生〉這個系列利用了攝影點描的變化來使得各個元素產生層
命運冷漠所造成的災難。而要表達出火場的恐怖，利用色彩的完成
that its fate is programmed by an irrebuttable cultural unconscious.
次。模糊和清晰的間錯不只是給出灰階的立體感，其中的視野除了
度更高。靜觀這個苦難的星球，有著礦物的起伏及湖水無盡的延展，
是空間的、也是道德的。
而謝春德嚮往的，則是在飛行中得到庇護，將岩石變形為飄散的雲，
The RAW series used the variations of the photographic point to organize the
provide its vision by metamorphosing the rock's heaviness into an evanescence
並藉由這樣的符號，展現出影像的力量。
elements of the representation into a hierarchy. Beyond the contours of the
of clouds.
14
the planet in peril favors mineral reliefs and endless stretches of lakes, Hsieh aspires to the shelter of taking flight and hopes for the power of images to
15
家
園
Homeland
家園—台東縣綠島 Homeland: Green Island, Taitung County 1979 Archival inkjet print 53.5×78cm
19
家園—澎湖縣赤崁 Homeland: Chikan, Penghu County 1979 Archival inkjet print 54×36cm
21
家園—台東縣綠島 Homeland: Green Island, Taitung County 1980 Archival inkjet print 54×36cm
23
家園—台中縣鳶峰 Homeland: Yuanfeng, Taichung County 1981 Archival inkjet print 36×54cm
25
家園—屏東縣佳冬 Homeland: Jiadong, Pingtung County 1984 Archival inkjet print 36×54cm
27
家園—台南市 Homeland: Tainan City 1984 Archival inkjet print 53.5×78cm
29
無境漂流
None-Zone Moving
無境漂流—東河 None-Zone Moving: Donghe 1975-2002 Archival inkjet print 36×54cm
33
無境漂流—飛布 None-Zone Moving: Flying Cloth 1975-2002 Archival inkjet print 36×54cm
35
無境漂流—喇嘛 None-Zone Moving: Lama 1975-2002 Archival inkjet print 36×54cm
37
無境漂流—不丹 None-Zone Moving: The Kingdom of Bhutan 1975-2002 Archival inkjet print 36×54cm
39
無境漂流—多納村新娘 None-Zone Moving: Bride in Duona Village 1975-2002 Archival inkjet print 36×54cm
41
無境漂流—路 None-Zone Moving: Road 1975-2002 Archival inkjet print 36×54cm
43
生
RAW
生—吉貝嶼白沙 RAW: The White Sand of Jibeiyu ( Jibeiyu Island) 1987-2010 Archival inkjet print 100×100cm
47
生—屋頂上的垂釣人 RAW: The Fisherman on the Rooftop 1987-2010 Archival inkjet print 150×200cm
49
生—野薑花 RAW: Butterfly Ginger 1987-2010 Archival inkjet print 80×100cm
51
生—觀音山下的渡船人 RAW: Ferry Voyagers at the Guan Yin Shan 1987-2010 Archival inkjet print 150×200cm
53
天
火
TENKY
天火—天啟 TENKY: Apocalypse 2002-2012 Archival inkjet print 100×300cm
56
天火—北京 ˙ 孔廟 TENKY: Beijing-Confucius Temple 2002-2012 Archival inkjet print 150×150cm
59
天火—北京 ˙ 圓明園之一 TENKY: Beijing-Old Summer Palace 01 2002-2012 Archival inkjet print 150×150cm
61
天火—北京 - 圓明園之二 TENKY: Beijing-Old Summer Palace 02 2002-2012 Archival inkjet print 150×150cm
63
天火—白馬 TENKY: White Horse 2002-2012 Archival inkjet print 36×48cm
65
天火—回家 TENKY: Home Town 2002-2012 Archival inkjet print 36×48cm
67
天火—羔羊 TENKY: The Lamb 2002-2012 Archival inkjet print 100×300cm
68
天火—移動的天空 TENKY: Moving Sky 2002-2012 Archival inkjet print 100×300cm
71
Timeline
年 表
謝春德
1981
1993
蘭縣議會展覽廳，臺北 / 高雄市 / 宜蘭縣
1982
「雲門舞集二十年攝影展」，誠品畫廊，臺北 北京唐朝樂團 MTV 代表亞洲區入選美國 MTV 大賽
「當代藝術家聯展」，版畫家畫廊，臺北
1994
「中、港、臺當代攝影聯展」，香港藝術中心，香港
出版攝影集《窗與鏡子》，美村出版社
1995
短片《宗教色像》入選「臺灣電影節」開幕影片
擔任《時報周刊》攝影主編
1996
「台灣攝影聯展」，臺北藝廊，臺北
舞台劇《美的饗宴》負責多元媒體
為達賴喇嘛拍攝 16mm 紀錄片《流浪的神》
舞台劇《遊園驚夢》負責多元媒體
1996-2001 年間，完成電影腳本《水災台北》、《時間之血》
1949
出生於臺中市
擔任電影《今年湖畔會很冷》藝術指導
1997
「臺灣攝影展」，臺北新聞文化中心，巴黎，法國
1965
台中縣沙鹿高工紡織科肄業
1982-1984 年間，擔任電影《兒子的大玩偶》、《金大班的最後一
1998
擔任太古踏舞團劇作《感官之舞》舞台設計
夜》、《老莫的第二個春天》、《殺夫》劇照與海報的企劃及攝影
1999
1999-2003 年間，完成《洞穴》詩集
擔任文建會《文藝季》特刊、海報等召集人
2002
第七次攝影個展「無境漂流」，誠品書店，臺北 / 新竹 / 臺中 / 臺
1966
開始繪畫，作品多次得獎
1967
離開家鄉到臺北；開始攝影及拍攝實驗電影
1969
第一次攝影個展「午夜」，精工舍畫廊，臺北
1970
「現代攝影九人展」，精工舍畫廊，臺北
1973 1974
1983
視覺藝術群「臺北展」，版畫家畫廊，臺北
視覺藝術群「生活展」，中華藝廊，臺北 《老爺財富雜誌》專任攝影
1985
報，平面廣告攝影及電視廣告影片獲時報廣告金像獎多次 1975
第二次攝影個展「古典的聯想」（臺北美國新聞處林肯中心、臺
1986
1979
擔任秋雨印刷公司的藝術指導及攝影中心主任
創立「食方」餐廳
成立個人攝影工作室
2004
「反思：七十年代台灣美術發展」聯展，臺北市立美術館，臺北
接受文建會委託拍攝臺澎金馬地區古蹟
2008
「家：臺灣美術雙年展」，國立臺灣美術館，臺中
「海岸攝影聯展」，臺北市立美術館，臺北
2009
國立臺灣美術館典藏〈時代的臉〉系列作品
第五次攝影個展「時代的臉」，春之藝廊 / 桃園縣立文化中心 /
2011
「春德的盛宴」個展於第 54 屆威尼斯雙年展，威尼斯，義大利
中省立圖書館、臺南美國新聞處） 1975-2001 年間，擔任雲門舞集、蘭陵劇坊、雅音小集、當代傳奇、
臺北 / 桃園 / 臺中 / 臺南 / 高雄
2012
「春德的盛宴─威尼斯集年展返台展」，築空間，臺北
太古踏舞團、光環舞集、優劇場、表演工作坊等表演團體之舞台
視覺藝術群「逍遙遊」聯展，爵士藝廊，臺北
2013
個展「微光行／謝春德」，高雄市立美術館，高雄
視覺藝術群「76 攝影大展」，臺北美國新聞處林肯中心，臺北
1988
創辦《現代攝影雜誌》 1978
出版攝影集《無境漂流》，國家文藝基金會贊助出版 2003
臺中市立文化中心 / 臺南市立文化中心 / 高雄市立中正文化中心，
攝影 1976
南 / 高雄，臺灣
出版攝影集《作家之旅》，爾雅出版社 1984
1974-2000 年間，拍攝時裝、時尚設計師個人作品、唱片封套及海
出版攝影集《生》，太界文創公司出版
出版攝影集《時代的臉》，大地出版社
出版《微光行／謝春德》，高雄市立美術館出版
第六次攝影個展「家園」，雄獅畫廊，臺北
個展「河床 1968」，其玟畫廊，臺北
出版《家園》，雄獅出版社
參展首屆「Art Basel Hong Kong 2013 香港藝術博覽會」，香港
擔任《你我他雜誌》攝影中心主任
1989
成立「影響花 Arena」電影製作公司
參展「米開朗基羅的當代對話」北師美術館開幕大展，北師美術
擔任私立復興商工的攝影教師
1991
臺北市立美術館典藏〈家園〉系列作品
館，臺北
電影《夏天裡過海洋》獲得新聞局國片輔導金
臺灣美術家「刺客列傳」，國立台灣美術館，臺中
擔任「第一屆台北縣宗教藝術節」總企劃
獲「2013 坎城國際創意節」平面廣告攝影銅獅獎，坎城，法國
開始製作 MTV 以及 CF
個展「看見聲音」，尊彩藝術中心，臺北
擔任《時報雜誌》、《時報周刊》特約攝影 第三次攝影個展「吾土吾民」，春之藝廊 / 高雄市立圖書館 / 宜蘭 縣議會展覽廳，臺北 / 高雄市 / 宜蘭縣
72
第四次攝影個展「窗與鏡子」版畫家畫廊 / 高雄市立圖書館 / 宜
1992
73
Timeline
H s i e h C h u n - Te Timeline
1982
1949 1965 1966 1967 1969 1970 1973 1974
1975
1976
1978 1979
1981
74
Born in Taichung, Taiwan Attended the Textile Department, Sa-Lu Vocational High School, Taichung County Began painting; won numerous painting awards Moved to Taipei; started doing photography and experimental film work First solo exhibition, "Mid-Night", at Fine Arts Gallery in Taipei Participated in the "Modern Nine Exhibition" at Fine Arts Gallery in Taipei Participated in group exhibition, "This is Life", with Visual Group Ten at Chinese Art Gallery in Taipei Photographer for Fortune Esquire Monthly From 1974 to 2000, photographed fashion works, album covers, and posters; won Times Advertising Award many times by his photographs and films for print and TV ads Second solo exhibition, "Association Classic", at U.S.I.S. Lincoln Centre in Taipei, Provincial Library in Taichung and U.S.I.S. in Tainan From 1975 to 2001, was in charge of stage photography for the following performing groups: Cloud Gate Dance Company, Orchard Art Theatre, Silk Sound Opera, Contemporary Legend Theatre, Tai Gu Tales Dance Theatre, Taipei Dance Circle, U Theatre, Performance Workshop Participated in group exhibition, "76", with Visual Group Ten at U.S.I.S. Lincoln Centre in Taipei Founder of Image Magazine Director of the photography department of Taiwan TV Guide magazine Served as photography teacher at Fu-shing Academy of Technology Contributing photographer for the China Times magazine and China Times Weekly Third solo exhibition, "Land & People of My Own", at Spring Art Gallery in Taipei, Taichung Cultural Centre, American Cultural Centre in Kaohsiung Forth solo exhibition, "Window & Mirror", at Print Maker Art Gallery in Taipei, Kaohsiung City Library and Yilan County Hall
1983
1984 1985
1986
1988 1989 1991
1992 1993
Participated in "Artists of Our Time Group Exhibition" at Print Maker Art Gallery in Taipei Published the catalogue, Hsieh Chun-Te's Image World: Window & Mirror Director of photography department of China Times Weekly Multimedia designer for the play, Feast of Beauty Multimedia designer for the play, Shattered Dream in My Autumn Garden Art Director for the film, the Chill of the Lakeside this Year From 1982 to 1984, served as photographer and poster designer for the following films, The Sandwich Man, The Last Night Taipan Chin, Turning Point of Old Mr. Mo, and The Butcher's Wife Publication and poster coordinator, etc. for the Council for Cultural Affairs' Festival of Culture and Arts Participated in Visual Group Ten's exhibition "Taipei" at Print Maker Art Gallery in Taipei Published the catalogue Hsieh Chun-Te's Image World: Writers' Journal Art director and director of photography fro Autumn Rain Printing Co. Founded the "Hsieh Chun-Te Photo Studio" Photographed historic sites in Taiwan, Penghu, Kinmen, and Matsu under commission to the Council for Cultural Affairs Participated in "Coast Line Exhibition" at Taipei Fine Arts Museum Fifth solo exhibition, "Faces of Our Time", at Spring Gallery in Taipei, Taoyuan County Cultural Centre, Taichung City Cultural Centre, Tainan City Cultural Centre, Kaohsiung City Cultural Centre Participated in the Visual Group Ten's exhibition "Easy" at Jazz Art Gallery in Taipei Published the catalogue Faces of Our Time Sixth solo exhibition "Homeland" at Hsiung Shih Art Gallery in Taipei Published the catalogue Homeland Founded the company "Arena International Film Production" Photo series, Homeland, was added to the collection of the Taipei Fine Arts Museum Film script, Crossing Ocean in Summer Time, received a domestic film subsidy from the Government Information Office Project direct for the "1st Taipei County Religious Art Festival" Began production of MTVs and CFs Participated in "Cloud Gate 20th Anniversary Photography Exhibition at Eslite Arts Gallery in Taipei MTV for the band from Beijing, Tang Dynasty, is and Asian regional finalist at the USA MTV competition
1994 1995 1996
1997 1998 1999 2002
2003 2004 2008 2009 2011
2012
2013
Participated in "Contemporary Photography from China, Hong Kong and Taiwan" at Hong Kong Art Centre Short film, Festival on Religion, is a finalist among opening films at the "Taiwan Film Festival" Participated in group exhibition "Visions of Taiwan" at Taipei Art Gallery Director of 16mm film, Wondering God, about Dalai Lama From 1996 to 2001, screenwriter for films, Flood, Taipei and Bloody Mary Participated in "Photo de Taiwan" at Centre Culturel de Taiwan in Paris, France Stage designer of The Senses of Dance for Tai Gu Tales Dance Theatre From 1999 to 2003, writer for collection of poems The Cave Seventh solo exhibition, "None-zone Moving" at Eslite Bookstores in Taipei, Hsinchu, Taichung, Tainan and Kaohsiung Published the catalogue None-zone Moving Founder of restaurant, C'est Bon Participated in group exhibition, "Reflections of the Seventies: Taiwan Explores Its Own Reality" at Taipei Fine Arts Museum Participated in "Home: Taiwan Biennial 2008" at National Taiwan Museum of Fine Arts in Taichung Photo series, Faces of Our Time, was added to the collection of the National Taiwan Museum of Fine Arts Solo exhibition, "Le Festin de Chun-Te" was held at the 54th International Art Exhibition of Venice Biennale 2011 Published the catalogue, Raw: le Festin de Chun-Te - Collateral Event of the Biennale Art Exhibition, 2011, Venice "Le Festin de Chun-Te Hsieh: Chun-Te's Solo Exhibition at the 54th International Art Exhibition of Venice Biennale Returns to Taiwan" at Arki Gallery in Taipei Solo exhibition, "Slight Touch / Hsieh Chun-Te" at Kaohsiung Museum of Fine Arts Published the catalogue, Slight Touch: Hsieh Chun-Te Solo Exhibition "Riverbed 1968" at Chi-Wen Gallery in Taipei Participated Art Basel Hong Kong 2013 at Chi-Wen Gallery in Hong Kong MoNTUE Grand Opening Exhibition, "A Contemporary Dialogue with Michelangelo" at MoNTUE Museum in Taipei "The Pioneers " of Taiwanese Artists at National Taiwan Museum of Fine Arts in Taichung PRESS LION /BRONZE LION CAMPAIGN, 2013 Cannes Lions International Festival of Creativity, Cannes, France Solo exhibition, "Visible Sounds" at Liang Gallery in Taipei
75
Catalog
圖 錄 Catalog
無境漂流—飛布 None-Z one Moving : Flying Cloth
無境漂流—路 None-Z one Moving : Road
1975-2002
1975-2002
Archival inkjet print
Archival inkjet print
36×54cm
36×54cm
p. 32
p. 40
無境漂流—喇嘛 None-Z one Moving : Lama
生—屋頂上的垂釣人 RAW: The Fisherman on the Rooftop
1981
1975-2002
1987-2010
Archival inkjet print
Archival inkjet print
Archival inkjet print
36×54cm
36×54cm
150×200cm
p. 22
p. 34
p. 46
無境漂流—不丹 None-Zone Moving: The Kingdom of Bhutan
生—野薑花 RAW: Butterfly Ginger
1975-2002
1987-2010
Archival inkjet print
Archival inkjet print
36×54cm
80×100cm
p. 36
p. 48
家園—台東縣綠島 Homeland: Green Island, Taitung County 1979 Archival inkjet print 53.5×78cm
p. 16
家園—澎湖縣赤崁 Homeland : Chikan , Penghu County 1979
家園—台中縣鳶峰 Ho m e l a n d : Yu a n f e n g , Taichung County
家園—屏東縣佳冬 Homeland : Jiadong , Pingtung County 1984 Archival inkjet print 36×54cm
p. 24
76
Archival inkjet print 54×36cm
p.18
家園—台東縣綠島 Homeland: Green Island, Taitung County 1980 Archival inkjet print 54×36cm
p. 20
家園—台南市 Homeland: Tainan City
無境漂流—東河 None-Z one Moving : Donghe
無境漂流—多納村新娘 None-Zone Moving: Bride in Duona Village
生—觀音山下的渡船人 RAW: Ferry Voyagers at the Guan Yin Shan
1984
1975-2002
1975-2002
1987-2010
Archival inkjet print
Archival inkjet print
Archival inkjet print
Archival inkjet print
53.5×78cm
36×54cm
36×54cm
150×200cm
p. 26
p. 30
p. 38
p. 50
77
Catalog
天火—天啟 TENKY: Apocalypse 生—吉貝嶼白沙 RAW: The White Sand of Jibeiyu ( Jibeiyu Island)
天火—北京 ˙ 圓明園之二 TENKY: BeijingOld Summer Palace 02
1987-2010
2002-2012
Archival inkjet print
Archival inkjet print
100×100cm
150×150cm
p. 44
p. 60
2002-2012 Archival inkjet print 100×300cm
p. 54-55
天火—羔羊 TENKY: The Lamb 2002-2012
天火—北京 ˙ 孔廟 TENKY: BeijingConfucius Temple
天火—白馬 TENKY: White Horse
Archival inkjet print 100×300cm
p. 66-67
2002-2012 Archival inkjet print
2002-2012
36×48cm
Archival inkjet print
p. 62
150×150cm
p. 56
天火—移動的天空 TENKY: Moving Sky 2002-2012 Archival inkjet print
天火—回家 TENKY: Home Town 天火—北京 ˙ 圓明園之一 TENKY: BeijingOld Summer Palace 01
100×300cm
p. 68-69
2002-2012 Archival inkjet print 36×48cm
p. 64 2002-2012 Archival inkjet print 150×150cm
p. 58
78
79
謝春德 Hsieh Chun-Te 發行人
余彥良
出版者
尊彩國際藝術有限公司
策劃設計
尊彩藝術中心
印刷
日動藝術印刷有限公司
出版
2013年10月初版
ISBN
978-986-88331-9-7
Executive Director
Yu Yen-Liang
Publisher
Liang Gallery Co., Ltd
Editor
Liang Gallery
Printing
Jih-Tung Art Pringting Co., Ltd.
Publishing Date
First Edition, October, 2013
ISBN
978-986-88331-9-7
www.lianggallery.com•Tel +886-2-2797-1100•Fax +886-2-2656-0033•lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday